AAW Lab Book

Advanced Audio Workstations Lab
AAW Lab Book

The Work
Lab Session
This month, you will work with a session of significant scale. This session will ultimately require Pro Tools Ultimate to run. At the end of the month,
your project will reflect the time you have invested and the steps you’ve taken to keep it organized, professional, and to apply your own persona to it.
It is vital that you spend the necessary time up front to be sure you understand how to work with your session from one lab to the next.
Because this Pro Tools session is the creation of the course director, you will be allowed to take your finished product with you when you
complete the course. This is a huge advantage to you in launching your experience in a grand way.
The name of the song you will be working on is named Motive. Motive is a copyrighted work. Understand, you will be allowed to use this project
throughout your continuing career to sharpen your skills, but do not have permission to release it or sell it in any form.
Lab Checklist
Each lab requires a handful of functions which will be applied to your session or will be tied to the purpose of the lab. The checklist grade will be
compiled at the end of the month. This grade is 10% of your final AAW grade. Each lab missed will represent incomplete checklist skills, reducing
your checklist grade. You will need to begin each lab by picking up where you left off even if you missed a lab with an absence.
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Lab 1 - Mixing Workflow
CPU and DSP processing in the same session will require some finesse in the way you decide to mix and build projects. In this lab,
you will utilize track groups, learn the benefit of working with multiple plug-in types, and how to correct for plug-in processing
delays.
Objectives
• Create personal folders on the local Audio drive and the network AAW drive
• Create several track groups for existing tracks including specific attributes and group presets
• Measure and compensate for plug-in processing delays
• Learn parallel compression utilizing auxes in Pro Tools and multiple effect possibilities
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Starting the Project
1. Launch the Pro Tools application. Go to Setup>Playback Engine and confirm the Playback Engine is set to Scarlet or Built In Output.
2. Go to Documents>AAW>AAW Lab Materials>Lab 1 and open the Pro Tools Template file (.ptxt) named Motive Start. This will create a prompt
window for you to create a new session from the template. Follow the window settings below and save your new session as last name_first
name_Motive within your Documents>AAW folder. Click Create. Your new Pro Tools project will load and all of the audio files will take a
moment to be rendered into the session.
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Subgroups
Before we begin, let’s take a look at an assignment function with regard to send and output assignments. When a send or output is clicked on, there
are two options for “track” and “new track…”.
When “track” is used, you may assign the current track to go to another already existing in the session. When this is done,
Pro Tools will automatically use the next available unused bus, name the bus the same as the track it is routed to, and complete the
assignment. Better yet, if the track has already been created and matches the name of a bus you created, it will use the bus you
already created when the routing assignment is performed. For the following subgroups, you may assign the tracks in two ways: 1)
Manually by assigning each track to an Aux you have created, or 2) By creating the Aux, naming it the same as the bus (FX Intro),
then using the “track” option in the track outputs for it to use the bus you already made.
1. Select all of the tracks from Boom to Break Hat. Create a subgroup for these track by holding Shift+Option, clicking on the output of a track, and
choosing “new track”. Set the track to a stereo aux and name it ELectronic DRum SUB. The capitals for ELDRSUB are purposeful. This is a nifty
trick when a long track name will be abbreviated to include capital letters. Uncheck the box for “Create next to current track”. This means it
would place the new track next to the first selected track. You actually want the new track after the last selected track.
2. Click Create. This is your first subgroup.
3. Using the same function, select the Kick to OHR tracks and create a stereo subgroup named ACoustic DRum SUB.
4. Using the same function, select the Synth Bass to Bass Drop tracks (3 tracks) and create a mono subgroup named Bass SUB. All of the bass tracks
are mono and happen individually through the song. This is the only time in this session where a mono subgroup makes more sense.
5. Using the same function, select the Rising to Rev Bells tracks and create a subgroup named INTRO INstrument SUB.
6. Using the same function, select the Lead Pad 1 to Multi Tap tracks and create a subgroup named MAIN INstruments SUB.
7. Using the same function, select the Hybrid Synth to Indigo 4 tracks and create a subgroup named Break Synth SUB.
8. Using the same function, select the Out Bass to Out Pad tracks and create a subgroup named Outro SUB.
9. Using the same function, select the GTR AMP1 to GTR Solo 3 tracks and create a subgroup named Guitar SUB.
10.Using the same function, hold Command and select the Xpand Cellos, Xpand Violins, and Xpand Horns aux tracks (not the MIDI tracks) and
create a subgroup named Orchestra SUB.
11.Using the same function, select the Lead Vocal to Chorus Harm 2 tracks and create a subgroup named Lead Vocal SUB.
12.Using the same function, select the Harm 1 to When I Falls tracks and create a subgroup named Vocal SUB.
13.Create a stereo master fader for the session assigned to the Main Out. Name it Main Master. Make this track the last track in the session.
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This routing serves a very important function toward the end of the mix process. Many people practice a bad mix habit of
inserting dynamic effects such as compression or limiting on the final Master Fader in the session. This is ill advised since inserts
on a Master Fader are post-fader. As a track fades out, the level of the mix will dip below the threshold of the compressor and
compression will cease. Audibly, the mix will fall apart. However, if all subgroups are routed to a final aux track where the insert
is still pre-fader, everything will behave beautifully. Routing!
The MIX Bus

Remember the difference between an aux track and a master fader we mentioned earlier? It’s the position of the inserts. On a master fader in Pro
Tools, inserts are post-fader. This means if you use dynamic plugins on master faders, you’re already at a disadvantage for completing the mix
because if a fade out occurs, the level will dip below the threshold of the dynamics plugins and stop acting. Any time you are using dynamic plugins,
they should be inserted on tracks with pre-fader inserts (Audio/Aux/Instrument). You will create one final stereo aux for your session and all of the
subgroup auxes in the session will be routed out to this one final stereo aux named MIX.
1. Use hold Command to select all subgroup auxes in the session.

2. Using Shift+Option assign the outputs of the subgroup auxes to a new stereo aux track named MIX.
3. Place this MIX aux at the end of the session to the left of the MAIN MASTER.
Solo-Safe
1. Hold Command and click on every aux solo button. Solo-safe all auxes.
Color Coding
1. Use Control+Option+Down Up/Down Arrow to set all track heights to small (fit more tracks on the screen).
2. Open the Color Palette from the Window menu.
3. Hold Command and select all subgroup auxes (Not the MIX). Choose
the bright yellow color for the subgroups.
4. Separately, select the MIX and Main Master. Choose a dark red color.
5. Choose a color of your choice for each of the track sections.
6. Go to Setup>Preferences>Display. Make sure Clip color-coding is set to
follow track color. This will ensure your clips and tracks are the same
color.
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Color Review
Below is a similar look to what your session should be viewing like now.
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Groups: Settings, Attributes, and Modifying
The Groups List is below the Track list at the left side of the Edit and Mix windows A group is active when it is selected and inactive when it is
deselected. Every session begins with an ALL group by default, which will link every track in the session. For this reason, it should actually be
seldom used. 99% of the time this month, you will want this group to remain disabled. We will never have you use it. Should you ever notice your
edits or selections are spanning all tracks in your session, this should be the first step to troubleshooting. Today you’ll make s number of useful
groups to give you an extra level of control of your session. When controls are linked in a group such as Volume, holding the Control key will allow
you to make adjustments to a single track without affecting the others.
The main thing to remember for creating track groups is that you never want to involve the subgroup aux track or bus master fader in the group with
the other tracks. In this case you would be turning something up or down multiple times - at the audio track and the aux track level.
Save 3 Group Settings

1. Create a track group for the audio tracks of the acoustic drums by selecting all the track names except for the subgroup aux, then go to
Track>Group. Uncheck Follow Globals (The Globals tab allows you to have a default set of group settings for the type of group you may use the
most.) Options - Name: “Acoustic Drums”, ID: a, check Edit/Mix, Attributes: check Volume, Mute, and Solo. Also check Send B level and mute.
Click the Save button in the Attributes tab and save your group settings to Setting 1. From this point forward when you are in the Create Group
window, 1 will be the shortcut for these attributes. Click OK. You now have a group for the acoustic drum kit.
2. Create a Edit/Mix group for the Intro Instruments tracks with a proper name and ID i. Uncheck Follow Globals. Attributes Tab: check Volume,
Mute, and Solo. Check Insert A Controls and bypass. Check Send B Level. Save these group settings to Setting 2.
3. Create a Edit/Mix group for the vocal tracks Chorus Lead, Chorus Harm 1, and Chorus Harm 2. Uncheck Follow Globals. Set the name to
“Chorus Vocals”, ID: c, check Edit/Mix, Attributes Tab: check Volume, Mute, Solo, and Insert Controls and Bypass for A, b, and C. Check Send
B Level. Save these settings to Setting 3.
The Rest
You will now create groups for the rest of the tracks, with the exception of the MIDI orchestra, which hasn’t been fully produced yet.
1. Create a Edit/Mix group for the electronic drums tracks Boom to Flange Dr using Setting 1(saved from your acoustic group). Name it Boom-
Flange Dr with ID b.
2. Create a Edit/Mix group for the Reverse Hits to Smooth Kik tracks using Setting 1. Name it Reverse Hits-Smooth Kik with ID r.
3. Create a Edit/Mix group for the Break Drums to Break Hat tracks using Setting 1. Name it Break Drums-Break Hat with ID k.
4. Create a Edit/Mix group for the Main Instrument tracks. This time click on Setting 2(saved from the Intro Instr group). Name the group
appropriately and assign ID m.
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5. Create an Edit/Mix group for the Guitar tracks with Setting 2. Name it appropriately with ID g.
6. Create an Edit/Mix group for the 10 Break Synths tracks with Setting 2. Name it appropriately with ID s.
7. Create an Edit/Mix group for the 3 Outro audio tracks with Setting 2. Name it appropriately with ID o.
8. Create an Edit/Mix group for the 5 Add L vocal tracks. Choose setting 3 for the group settings. Use ID L.
9. Create an Edit/Mix group for the 6 Ooh vocal tracks. Choose setting 3 for the group settings. Use ID h.
There are a few sets of tracks you didn’t create groups for - Orchestra and Basses. The bass tracks don’t happen simultaneously,
they’re better viewed as three separate tracks. The Orchestra MIDI tracks will require specific work in later labs, so it makes more
sense to save the creation of these groups for later. Let’s take a moment and analyze what you have done.
Drums: You would not likely link inserts for EQs or compression across multiple drum tracks. You might choose to send
different levels of sends from each drum to reverb though. So one send is linked, but the rest are not.
Instruments: Most of the time, step 1 of the mixing process involves subtractive EQ to clean up the mix. Linking EQs on insert
A is a quick way to EQ many tracks. If you don’t want to EQ all tracks the same, you can set the ones you want to link on insert A
and start the other EQs on insert B (unlinked) OR you could simply choose a different EQ plugin.
Vocals: Multiple inserts being linked allows you to link a different EQ on each pair of harmonies - each harmony uses a different
insert (A, B, or C).
You assigned ID letters to match each section of tracks. When in the Mix window, the default mode for the keyboard is for Group
Focus, which assigns the keyboard to enabling/disabling groups - by ID letters.
Group Show/Hide and Subgroups

Your session has multiple subgroup aux tracks for the various sections of tracks. Every track in your session is going through a subgroup aux. By
creating a track group of these auxes, you can take control of the overall mix level of the session before the MIX aux stage, where you may apply
some dynamic affects in the future. You may also use this track group for show/hide purposes.
2. In the Mix window, pop out the tracks list at the left. In the Tracks list menu, choose to Show>Only Aux Tracks.
3. Use the Command key to select each subgroup aux in session (yellow tracks). Do not include the MIX aux or effects auxes in this track selection.
4. Create a track group for these tracks named Subgroups with only Volume linked and nothing else. Use ID letter x.
5. Once this group is created and the faders are linked, set all subgroup auxes to -10. You could Option-click on a fader to snap them to 0.0, then
bring them down to -10 together. This will establish a starting point for your mix with regard to levels. You have room to bring certain tracks up
without clipping the mix.
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6. You can sort the groups in the groups list manually by clicking on the color or symbol to the left of the group name and dragging them up or down.
Drag the Subgroups group up directly underneath the ALL group.
7. For now, be sure the Subgroups and ALL groups are disabled.
8. Click on a group name. This is the way to manually enable or disable a group. If a group is highlighted, it’s on.
9. You can Control+click on the Acoustic group name. Now you are viewing only those tracks! Experiment with clicking on different groups while
holding Control. You may add Shift while you click in order to show multiple groups simultaneously. Also, switch over to the Mix window if you
are not viewing it.
10.Now, Control+click on the ALL group to get your tracks back.
Suspend All Groups and Group IDs

1. Hold down Shift+Command+G and watch the groups list. This is a quick-key for temporarily suspending all groups, regardless of whether they are
enabled or not. Sometimes it is easier to quickly use this command to make a change to a single track, than leave the groups list open to disable/
enable them constantly.
2. Open the Mix window and show the groups list at the left.
3. Press the keys associated with group IDs (a, b, g, etc.). You’ll notice the groups going on and off. In the Mix window, Pro Tools is always in
“Group Focus” mode, because there are no edits to make for Command Focus to use the keys. The group IDs are for enabling/disabling groups in
the Mix window, or if the Group Focus A-Z button is on for groups in the Edit window.
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Processing Delays
Plug-ins take time to process signal and therefore create delay. Since you are running plug-ins on the CPU and DSP chips there are two places for
delay to potentially happen. We can get to correcting the delay, but first we must be able to measure it -
1. In the Options menu, confirm Delay Compensation is unchecked for the next few minutes.
2. In the Edit or Mix window, Command+click on the volume display one time for a single track (if you’re in the Edit window, it will help for tracks
to be in medium height). This shows the processing delay in length of samples for the track. Holding Option simultaneously sets all tracks to this
view.
3. Insert EQ>EQ3 7-Band on the Kick track. Look at the amount of delay in samples. It’s likely, “0” because the buffer in Pro Tools automatically
time-aligns all tracks to compensate for very short delays.
4. Next, beneath the EQ, insert Dynamics>Maxim. Check out the delay. Whoa! Maxim requires much more processing time, possibly due to a built-in
look-ahead feature, but nonetheless is a different algorithm.
5. Solo the acoustic drums and start playback to hear the timing of this Kick track with the other tracks. You may hear that the Kick lags a bit or
sounds doubled. A thousand samples of latency in this case is about 1/44 of a second due to our sample rate being 44.1kHz. This may not be a
huge noticeable difference, but it’s enough to get under your skin when you get used to the timing nature of a track, especially when that track is
now out of phase with the kick bleed on other tracks.
Delay Compensation
1. Go to options>Delay Compensation. Make sure it is selected/checked.
2. Go to View>Mix Window Views>Delay Compensation and look at the bottom of the drum kit channel strips in the Mix window. All of the tracks in
the drum kit are being delayed to match the Kick track automatically. Also, every subgroup aux in the session is delayed as well to maintain the
continuity of the session - very clever.
3. You may remove these two plugins from the Kick track.
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Parallel Compression
This is a technique for creating more presence for a particular track or set of tracks in your session. It is regularly done for drums, but may be applied
to any sound source. The use for parallel processing stems out of the need to be able to apply a certain percentage of compression or other characters.
1. Insert Multi-Channel>Dynamics>Pro Compressor on the Acoustic drum subgroup aux. Solo the acoustic drum tracks (with the group on). Set the
plugin settings as shown below: Fast attack, slightly quick release, high ratio, 75% wet, adjust threshold and makeup gain as it is helpful.
For starters, listen for the sound of the room coming out more in between the kick and snare transients. Listen to the effect of the
plugin on the peaks of the kicks and snares, but the way it allows the decay of these transients to come through the mix more, due
to a quick release. Finally, make some adjustments using the Mix amount for the compressor and decide how much is too much.
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Parallel Processing Using Auxes
Few dynamics plugins contain mix percentages like the Pro Compressor. This makes it a very unique and useful tool. The question becomes - how
can you apply this parallel process for plugins which don’t have mix percentages?
1. Make the Pro Compressor inactive for now (Control+Command+click on the plugin).
2. Duplicate this subgroup aux. You can do this by selecting the track and choosing Shift+Option+D, or by right-clicking on the track name. You will
now have two identical tracks.
3. Rename the duplicated aux Acoustic Parallel SUB - that’s right - it’s technically a second subgroup for the acoustic drums. Insert Multi-
channel>Dynamics>BF76 on the duplicated aux.
4. In the BF76, go to Import Setting… and navigate to AAW Lab Materials>Lab 1>Bombfactory BF76>Fast Attack. This setting is a fast attack for
the compressor to suppress the peaks of the drums.
5. Mix the drums using a combination of both aux faders. This Acoustic Parallel SUB track represents more of a squashed sound for the kit, similar
to the Pro Compressor earlier. It kills the peaks in the kick and snare due to the fast attack and release settings, but lets go for the decay to come
through more. You now have a fader on one aux for the dry drums (More peaks and attacks) and the fader on this aux for heavily compressed
drums (decays in between peaks). Your mix of the drums is now a combination of both subgroup auxes and they’re equally important. Parallel
processing is how you create a wet/dry mix for plugins such as this, which don’t have mix percentages.
6. Duplicate the dry subgroup aux again, and name the duplicate Acoustic Parallel SUB 2.
7. Insert Multi-Channel>Dynamics>BF76 again on this second parallel aux.
8. For this BF76, Import Setting… Materials>AAW Lab Materials>Lab 1>Bombfactory BF76>Preserve Attack. This setting leaves the peaks alone
some, but levels off the continuous decay of drum hits. You’re now mixing the dry drums with two different compressor settings. All 3 are equally
important subgroup auxes for the drums.
EQs
Spend the rest of the time mixing the drum kit and instruments. Solo each group and work on just the mix of the drums. Apply these steps -
1. Assign the EQ3 7-Band plugin on every drum except for the kick, in order to remove low frequencies.
2. On the drum kit, set all high-pass bands to at least 40Hz. On the Electronic Drums, set all high-pass filters to at least 60Hz. Take time to hunt for
the proper frequency which will not compromise the sound of the drum, but clear out some muddy frequencies.
3. EQ notch out harsh tones in the hihat and overhead tracks.
4. Assign the EQ3 7-Band plugin on every intro and main instrument track, in order to remove low frequencies.
5. Set the high-pass filter of the intro instruments to at least 70Hz and for the tracks which are not basses, to at least 150Hz.
6. Set the high-pass filter for each of the main instruments to at least 100Hz.
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End of Lab Summary
1. You will always work off of the local Audio drive and backup your files to the network at the end of each lab.
2. Track groups are for linking mix functions and should always be assigned specific IDs.
The “Why?”
1. These organizational procedures involving groups require a little more time up front to setup the mix, but save tons of time while you’re in the
creative mix process. Don't let the up-front work drag you down. Start smart, get to the end quicker.
Keys
1. Use Control+Click on a group in the groups list to show only those tracks.
2. Use Command+G to create a track group.
3. Use Control+Command+G to Modify track groups. Choose the group to modify using the group ID list in the resulting group window.
4. Use Control+Command+click on plugins and sends to make them inactive and active again.
5. Use single keys A,B,C,D,E, etc. to enable/disable groups in the Mix window. (Group List focus keys)
6. Use Shift+Option+D to duplicate tracks.
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Lab 2 - Inserts Galore
The advantage to recording DI tracks for guitars is the opportunity in the future to change your mind about the sound of them. A
DI track is easy to rerecord or “reamp”. In this lab you will undertake the process of incorporating guitars into your project to get
your desired sound and mix for the guitars.
Objectives
• Use the Eleven MKII and Sansamp to re-amp tracks and rerecord them
• Assign Masters to subgroup buses
• Assign VCAs
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Guitars
For the most part, the guitars exist for the choruses only. There are multiple tracks which include amped recordings. There are also DI tracks which
can be used to re-amp the guitars through plug-ins or external hardware. You will re-track the DI guitars multiple times in this lab using plug-ins.
Once all of the recording is completed in the lab, you may mix the tracks according to your liking. Although you may choose to include some tracks
and cut others, DO NOT DELETE ANY TRACKS from the session. Simply hide the ones you don’t want and make them inactive. This way, you
will have all necessary material to do steps in future labs.
Timing
You’ll use the Elastic Audio Polyphonic plug-in to correct the timing of each of the four GTR DI tracks before you continue to the recording. The
transients in the DI tracks are very easy to see. You will use Clip Elastic Properties to set the right amount of analysis markers for each clip before
you quantize them. Unlike vocals which require attention to individual warp markers, DI tracks and drum loops can be quantized as whole clips just
like MIDI.
1. Enable the Polyphonic Elastic Audio plugin for all DI tracks. Change the track view to Analysis and go to Clip>Elastic Properties.
2. For each guitar DI clip, select the clip (triple-click with the selector), and use the Sensitivity in the Elastic Properties window so that there are
only analysis markers on the transients and nowhere else. Consider a setting of around 90% for starters.
3. When you’re ready, select a clip in whole, go to Event>Event Operations>Quantize and quantize each clip using an appropriate note value. (Hint:
use the grid to help to figure out the best note value for each clip.)
Re-Amping
Eleven MKII
1. Solo the GTR DI1 track and play the first clip starting at Chorus 1. This track was used to make the GTR Amp1 track. Since the guitar was recorded in
DI and the mic was amped, you can choose to process it through another amp to find a better sound or to add more layers.
2. Insert Harmonic>Eleven MKII.
3. Go to the settings menu at the top of the plugin and choose Import Settings.
4. Navigate to AAW Lab Materials>Lab 2>Eleven> GTR DI 1 and choose this setting (it may already be in your plugin settings).
5. Listen to the track now. Un-solo it and listen to it with the rest of the track. It’s one thing to find a good sound and another thing to find the right
sound with the other instruments playing. Play around with the controls for a moment until you find a good sound you like.
6. Save your new plug-in setting for Eleven MKII to the Plug-in Settings folder in your session folder. To do this, open the plugin window and in the
settings menu, set your Settings Preferences>Save plug-in Settings To>Session Folder. Then do Save Setting As... to name it and save it.
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7. When the guitar sound is to your liking, right-click on the DI1 track and choose Commit… Set the settings as shown below. Notice the option to
perform this “offline”, which means at the speed of the CPU. Press OK.
8. Solo the GTR DI2 track and insert another Harmonic>Eleven MKII plugin. Choose Import Settings again and choose AAW Lab Materials>Lab
2>Eleven>GTR DI 2 (or check your plugin settings list). We’ve provided two different character amp settings for these 2 DIs that will work together
well.
9. Make any adjustments you’d like. Once you’ve dialed in a good sound, save the Eleven MKII preset to your session folder.
10.Right-click on the DI2 track and Commit it as well, just like the first. You should now have two new tracks named GTR DI1.cm and GTR DI2.cm.
11.For the GTR DI 3 and GTR DI 4 tracks, use a different amp plugin named SansAmp. SansAmp is a plugin in the Harmonic list in the insert menu.
You’ll need to set the amp settings in the plugin to your liking, then commit the two tracks when you’re ready. Your new tracks should be named
GTR DI 3.cm and GTR Di 4.cm.
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Updating Groups
1. You now have multiple inactive tracks in the background. Select the current guitar tracks in the session.
2. Go through the new guitar tracks and confirm all the outputs are assigned to the guitars subgroup.
3. Select all of the active guitar tracks. Right-click on the Guitars group in the group list and choose Modify. In the Tracks tab, choose Replace to
update the tracks in the group.
It’s important to note here that while the guitars add some sonic character to this song, you must be very careful not to
overshadow the other tracks too much. The more guitar tracks you add, the lesser the levels of each will have to be. As this
session evolves, you will need to make a decision on which direction your mix will lean. A guitar-heavy mix is certainly a
possible outcome now and has probably drastically affected the feel of the song.
Subgroup Masters
Earlier, you setup a Master Fader for the main output of the session. This serves the general purpose that you would associate with any console or
mixing environment, but to take it a step a further, you may assign a Master Fader track to any output OR bus in Pro Tools. The usefulness of this is
great. Think about this - if you can use a Master Fader to monitor the output of your entire session, why can’t you use one for a subgroup which is
simply a smaller mix within a session? The advantage of creating a Master Fader for each subgroup bus is the ability to see clipping at the bus -
before the mix reaches the input of the Aux track. Clipping at this stage of the mix is not catastrophic, but we use master faders in these smaller mixes
to bring discipline and consistency to our level management. When Pro Tools is in post-fader monitoring (all the time during mixing), you could
make mix changes and assign inserts to the Aux and never see clipping at the input of the aux. The master provides an extra stage of level feedback
we don’t otherwise have.
1. Create and name a stereo Master Fader for each subgroup bus in your session and place the track to the left of the subgroup aux for that subgroup.
Be sure to assign each Master Fader to the bus for that subgroup, instead of a main output. Your track layout should be audio tracks>master
fader>subgroup aux. Since a Master Fader is an output monitor for a bus, every subgroup in the session will have its own output monitor to
ensure that each mix in a subgroup is not clipping. Name the tracks with MAST in the name. For instance, ELECTR DRum MAST.
Keep subgroup bus master faders with their audio tracks in the session to monitor the levels. Keep the subgroup auxes together
with the audio tracks they are assigned to. The session is now divided into multiple smaller mixes with monitor control and group
processing control. We’ll provide ways for you to organize on a deeper level in Lab 1.
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Keeping audio tracks with their subgroup aux and master tracks
VCAs
A VCA is an analog term for “voltage-controlled amplifier”. It is a means of using one fader to control the voltages (levels) of other channels on an
analog console. In a digital system, there is technically no such thing as a VCA, but the same behavior applies and engineers understand what it
means. In Pro Tools a VCA is a fader assigned to a track group, which creates a deeper level of control for your mix. Since most of your track groups
have already been created, you’ll use VCA faders to organize the mix further. You currently have several track groups. You will now create and
assign a VCA for each group.
Group Selection and VCA Assignments

1. Disable all groups by deselecting them in the group list.
2. Scroll to the Acoustic Drums group in the Mix window.
3. In the groups list, click to the left of the Acoustic Drums group in the empty area. This is a feature to select the tracks in that group.
2. Go to Track>New (Shift+Command+N) and create a new VCA Master track. This track will automatically show up below the last selected track for
your drums.
3. Name the track Acoustic Drums VCA and assign the output of the VCA to the Acoustic Drums group.
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4. Assign the VCA color to match the color of the drum tracks. This can be done by simply selecting the VCA with the drum tracks and opening the
color palette to set them to the same color. This way, you know the last track of every color will be the VCA for the group.
5. Repeat this process for every track group in the group list, except for the Subgroups group. 1) Click to the left of the group to select the tracks, 2)
create the VCA, 3) name and assign it, and 4) color-code the tracks to match.
6. Does every track group have a VCA assigned like this pic?
The new VCA track now assumes control of the linking in the group (fader, solo, mute). It also now allows individual control of
each track alone. This feature is always active, even if the group is disabled. Move the VCA fader and move individual drum
faders to experiment.
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Tracks List Details
Now that there are active and inactive tracks in your session, you’ll want to use the Tracks list menu to show certain kinds of tracks from time to
time. The easiest way to reset your session to full view may be to Show All Tracks, then choose to Hide>Inactive Tracks.
Impulse Responses
1. Select the acoustic drum audio tracks.
2. Holding Shift+Option, assign Send B from each acoustic drum track to a new track. Make this a stereo aux named Ac Drum Verb.
3. Once this track is created, solo-safe the aux, set the output to the Mix bus, and move it below the subgroup aux.
4. On this aux insert Multi-channel>Reverb>Space(stereo).
Space is a convolution reverb plugin. We’d like you to see some impulses we created on campus to give you some ideas for
creating your own impulse response files in the future.
5. You can adjust the amount of reverb you want on drums by adjusting the send faders. Remember, if the group is active - the sends will be linked.
If you want the sends to not be linked, drag the send to send A, C, D, etc.
6. In Space, go to the menu at the right, Click on Edit, and Import Other IR Folder. Navigate to the AAW Lab Materials>XFull Sail IR Library and
open this folder. It is now available in Space. We have prepared a few presets for you.
7. Also in Space go to the settings menu at the top and choose Import Setting… Navigate to the AAW Lab Materials, Lab 1>IRs>Drum Amb. Import
this preset. Now that the library was added for Space, it will find the IR to go with the preset you just loaded.
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Impulse Responses for Guitars
1. Select the three GTR solo tracks.
2. Holding Shift+Option, assign send C for all three to a new stereo aux track named GTR Solo FX. Set the output of this aux track to the Guitar SUB
bus.
3. Assign Multi-Channel>Reverb>Space(stereo) to the aux track.
4. For the Edit section at the right, choose to Import Other IR Folder and choose AAW Lab Materials>XFull Sail IR Library.
5. In the settings menu for the plugin, choose Import Setting… and AAW Lab Materials>Lab 2>Gtr Solo Amb.
6. Spend a few moments mixing the solo guitars through this effect. Choose one solo guitar to keep up in the mix and reduce the other two.
I/O Setup
1. Open the I/O Setup.
2. At the bottom of the window click Export Settings.
3. Navigate to your project folder, create a new folder named PIO Settings. Name your file your three initials and click Save.
EQs
Spend the rest of the time mixing the guitars. Solo the guitar tracks and work on just the mix of the guitars for balance. Apply these steps -
1. Assign the EQ3 7-Band plugin on every guitar, in order to remove low frequencies or building frequencies.
2. Set all high-pass filters for the guitar tracks to at least 100Hz. The goal is to remove low to low-mid growl to make the guitars more clean. you may
prefer some boomy low-mid, but remember there are a bunch of other tracks in the session. You have to compromise to allow other low tracks in
the session to have their space as well.
3. Set an EQ on the Guitar Subgroup aux to remove some of 2-3k on the group as a whole as this may be building up too much.
End of Lab Summary

1. Utilize elastic audio to make time correction changes to guitar DI tracks and bass tracks when helpful.
2. Utilize the Elastic Properties window Sensitivity under the Clip menu when performing elastic audio to acoustic audio material. This helps you use
elastic audio more effectively by removing useless analysis markers.
3. Don’t solo-safe VCAs. This will keep all of the source tracks of that group soloed. There is a time to use this, but not up front. It’s not automatic,
like solo-safing auxes.
4. Don’t delete source tracks. Always use Hide and Make Inactive once a track has been printed to it’s final state.
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The “Why?”
1. Clean DI guitar transients are much easier to perform timing changes to than recorded amped guitars. When possible, record both.
2. When you get to a point where you have many inactive tracks in the session and it becomes annoying, you can select those tracks and use
File>Export Selected Tracks as New Session to back them up to an archived session within your project folder. Then you could delete them from
the current session. This is not necessary for this lab work, but something to be aware of.
Keys
1. Use Shift+Command+C/Shift+Command+V, etc. to copy and paste plugin settings.
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Lab 3 - Controllers and Automation
In this lab, you will become more familiar with the Avid S6 controller surface and delve deeper into automation functions with the
aid of the controller, then with the use of graphic automation adjustments.
Objectives
• Perform Pro Tools Ultimate automation features like Convert Automation to Clip Gain
• Perform automation using graphic automation functions with the keyboard/mouse
• Offline bounce the Session and backup your session folder
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Vocal Mixing
1. Enable the group for your Ooh vocal tracks.
2. For the Ooh vocal tracks, assign a EQ>1 Band EQ to insert A of Ooh 1&2, a 1 Band EQ to insert B of Ooh 3&4, and a 1 Band EQ to insert C of Ooh 5&6.
Remember these pairs of EQs are each linked according to your group settings.
3. Set one of the insert A EQ to a high-pass filter around 800Hz. Set one of the insert B EQ to a high-pass filter around 400Hz. Set one of the insert C
EQ to a high-pass filter around 500Hz.
The point of this EQ exercise is to illustrate the extreme nature EQing may take to clean out frequencies that will be less desired
when these vocals need to sit in the track with everything else. For falsetto vocals, focusing on the high breathy frequencies will
maintain the vocal character in the mix, while cutting out the bottom end will leave appropriate room for all the other instruments.
In the next lab, you’ll import an orchestra, so subtractive EQing is paramount. This may not apply for every music style, but for
this song, it’s a huge help. Consider how you might use this with your other vocal groups. If you don’t want EQing linked on the
other vocal tracks, simply start with insert D.
Vocal Automation
1. Navigate to the Lead Vocal track.
2. Solo the Lead Vocal track and change the track height to Jumbo within Pro Tools.
3. Switch the track view to Volume within Pro Tools. Zoom in to a comfortable level to see the waveform well.
4. Set the scroll mode in Pro Tools to Options>Edit Window Scrolling>Continuous
5. Set the automation mode for the track to Touch mode.
6. Set the fader to 0 and change the Volume Indicator to Pk by Command-clicking on it in Pro Tools.
7. Option-click on the Pk value to reset the peak value.
8. Play the first phrase of the vocal. The pk value should be around -6dB. This is your target level for every word/line for the rest of the track.
9. Using your the track fader, you’re going to press play and as the playline traces through the vocal, you’re going to bring the fader down on any
and all vocal parts that are louder than this initial phrase. You will compensate for the louder plosive and stronger words by dipping them to match
the level of your initial nominal phrase. You will watch your pk level while you do it to give you feedback. It doesn’t need to be perfect, but your
goal is to get all vocal parts on the entire track to be within 2-3dB of each other. Most of your adjustments will be subtractive only, but you
may bump quiet parts up some as well. Be careful not allow gains to cause clipping on the track.
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This process uses the audio track volume as a form of soft compression before dynamic plug-ins will be added. Volume
automation is the most transparent dynamic processing. This allows audio levels to be more consistent on a path into a
compressor, which, following volume automation, will be much lighter (less severe ratios). This automation pass will be
impossible to do in one single pass. If you miss a change you wanted to make or didn’t make it as well as you’d like, backup and
redo the section. You’re in an update mode in Touch.
10.Once your automation pass is complete for the entire vocal track, set automation back to Read mode. Set your track view back to Waveform. Set
your scroll mode back to Page.
11.Be sure Pre-Fader Metering is off under the Options menu for you to see the results of your automation changes.
Convert to Clip Gain

Clip Gain is a volume adjustment processed into the track in realtime by the CPU during playback. To be clear, the difference between volume
automation and Clip Gain is that Clip Gain is pre-insert and volume is post-insert. This means you could not simply insert a compressor on the audio
track once your volume automation is complete. Your compressor would be affecting the original audio before your volume automation curve could
be applied to it. For this reason, we need a way to change your volume automation to Clip Gain, so that dynamic plugins may be added to the same
track.
1. Select the entire Lead Vocal clip.
2. Go to Edit>Automation>Convert Volume Automation to Clip Gain. Below is a before/after picture of what your lead vocal clip should be looking
like within reason. Notice the reigning-in result the conversion has on the peaks if automation was done correctly.
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The resulting clip with Clip Gain applied in the pic above should have differences of up to 2-3dB of dynamic change in the
performance, rather than 9-10dB of change in the original. This will make any dynamic plugin processing much lighter than
previously required to control this vocal throughout the track. Convert Volume Automation to Clip Gain is a Pro Tools Ultimate
-only function. To get a similar mix experience in Pro Tools standard, you would need to either print your automated vocal to a
new track, or route the output of the vocal into a mono aux where the desired effects would be inserted for the vocal mix.
S6 Home Screen
1. Insert a EQ>EQ 3 7Band to insert A on the Lead Vocal track, followed by a Dynamics>Pro Compressor to insert B.
2. On the lead vocal track, go to Send A and assign it to a “New Track”. Create a stereo aux named Lead V Del for delay.
3. Assign the output of the aux to the Mix bus.
4. Insert a Multi-Channel>Delay>Air Multi-Delay followed by a Multi-Channel>EQ>AIR Kill EQ on the Lead V Del aux.
5. Import the plug-in setting for both of these plug-in from AAW Materials>Lab 3>Plug-in Settings as well.
6. Set the automation mode of the Lead Vocal track to Touch again.
7. Go to Setup>Preferences>Mixing tab and set AutoMatch time to 150ms. This is the amount of time the encoder will take to return to its original
position when you let go of it after an adjustment.
8. Click on the send on the track to show the Send fader.
9. Automate the send level to change from about -24 to -15 for the words “I’m performing like the moonlight” which start the second verse.
Immediately when the phrase is done playing, let go of the encoder for Touch mode to snap back to -24. You should notice the delay much more
for this phrase than the rest of the track, but not to obnoxious. When you’re finished this pass, return the track to Read mode using the F button
again.
10.Using Send B, create another stereo aux for the lead vocal to use for reverb. Name it Lead V Verb. Assign the output to the Mix bus.
11.On the Lead V Verb aux, assign the Reverb>Reverb One plug-in.
12.Import the Vocal Quick Slap Reverb One plug-in setting from the Lab 3 Plugin Settings folder. Use the second send encoder on the S6 to set a
nice useable level of light reverb.
Reverb Automation
1. Navigate to the Run 1 vocal track and navigate to bar 53. Solo the track and listen to this clip once.
2. Insert the Reverb>Reverb One on the track. Disable the 100% Wet button at the lower right of the plugin.
3. Find the Reverb Time, Wet/Dry, and Chorus Depth parameters.
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4. When you find them, hold down the Ctrl-Opt/Win-⌘/Alt keys and click on those parameters to enable automation for them. Press it until you see
a green or red indicator (depending on the automation mode).
5. Put the Run 1 track into Touch automation mode.
6. Perform a few passes of automation for these 3 parameters. You should notice some obvious phasing effects with these 3. (In Touch mode, you can
do a pass of each one individually if necessary.) The results are up to you!
Guitar FX Using Graphic Automation

1. Use Import Session Data to import the GTR Del L and GTR Del R tracks from the Guitar FX session in the Lab 3 folder. A new bus named “Guitar
FX” will be imported with these two tracks.
2. Place the tracks just above your Guitar Sub aux and route their outputs to the Guitar SUB bus. Confirm these two track inputs are assigned each to
the Guitar FX L bus and Guitar FX R bus. Pan the tracks out hard left and right. In this example of time-based effects, you’re using a stereo send,
but the send is going to two mono auxes instead of one stereo aux. This allows you to create a more interesting stereo effect with slightly different
presets between the channels.
3. Assign send A on the Rev Slide guitar track to the Guitar FX bus. Pan the send to the left some and set the send level to -8.
4. Mute the send.
5. Change the track view to Send Mute and make a selection of bar 40 in the track.
6. Use the Trim tool to unmute the send for the duration of the bar. Now the delay feedback will only happen for this bar (this clip) and not affect the
other one playing later.
7. Assign send A on the GTR Amp1 Print track to the Guitar FX bus. At the end of the first chorus, the guitar makes a fret noise which we’ll use for
the delay effect as well. Pan this send mostly to the right.
8. For this track, change your track view to the Guitar FX Bus Level.
9. Find the guitar fret noise at the end of the chorus and use the grabber tool to draw break points into this view, bringing the level up only for this
waveform and drawing it back down. You could easily do this with 3-4 break points, but be as particular as you like to get the delay for this part of
the sound only.
10. Double check your routing for all the guitar tracks. No tracks should be routed directly to the Main Out.
Once you are finished, save and backup your session by dragging it to your folder on the AAW network drive if you have time. Use remaining time
experimenting with different plugins in your session using the S6 Modules and learning your way around.
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Here’s a secret - Hold down Control+Command and click on the parameter in a plugin window or Send/Output window in Pro
Tools. The track view will automatically change to see that view. This example above illustrates different styles producers take
with doing automation programming in Pro Tools. Also, graphic automation done in this way can provide a way for very specific
programmed changes. In this example, we also showed you the potential for using two mono effects auxes for a stereo effect,
rather an a single stereo aux. The plugins varying slightly from one aux to the other makes the stereo image a little more unique.
Impulse Responses for Vocals

1. Assign send C from the When I Falls track to a new stereo aux named When I Falls FX. Assign the output of this track to the Vocal SUB bus.
3. For the Edit section at the right, choose once again to Import Other IR Folder and choose Materials>AAW Lab Materials>XFull Sail IR Library.
4. In the settings menu for the plugin, choose Import Setting… and find Materials>AAW Lab Materials>Lab 3>IRs>Space>When I Fall Contrast
Filt.
EQs
Spend the rest of the time mixing the vocals. Solo the vocal tracks and work on just the mix of the vocals. Apply these steps -
1. Confirm there is a EQ3 7-Band plugin on every vocal track, in order to remove low frequencies and clarify tracks.
2. The background vocals may have varying high-pass filters depending on their part.
End of Lab Summary

1. Leveling a vocal means to create a volume curve counter to the energy of the vocal waveform.
2. Leveling automation should begin with the fader at 0.0 unity. To simplify the process, only make deductive changes when the vocal is louder. This
will avoid clipping at all times.
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The “Why”
1. Using volume automation allows you to be more specific and efficient at times than drawing in clip gain changes.
2. In this lab, you can see the opportunity to utilize subgroups and VCAs for their niche purposes. While you have 1 single subgroup for the
background vocals, you can still break the mix of those down into smaller controllable [mix] groups, using track groups and VCAs. VCAs are a
secondary way to break the session down into smaller parts without necessarily changing the routing of the tracks at every turn.
3. Applying automation to sends that are going to reverbs or delays can make for some very cool results and fill transitions in songs. Sometimes you
don’t need more instruments to fill a short change or gap in the music. You can automate the mute or volume of a send to carry reverb or delay
through the gap.
Keys
1. Use Control+Option+Command+click on a plugin parameter to enable it for automation.
2. Use Control+Option+Command+click on the auto button in a plugin window to enable the whole plugin for automation.
3. Use Control+Command+click on a plugin parameter to view the automation view for it on the track.
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Lab 4 - MIDI Orchestrations
In this lab, you will discover the uses of the MIDI Editor and the Score Editor, by using them to prepare MIDI tracks and score
sheets for orchestrations. With the composer looking over your shoulder, you will implement the MIDI programming into the session
and make some minor changes for the good of the entire piece, help the composer prepare the material, then add the recorded
audio tracks into the mix.
Objectives
• Make corrections to MIDI timing/programming using the MIDI Editor
• Label and export separate score sheets from the Score Editor to prep for orchestra audio recording
• Control MIDI instruments with automation lanes
• Backup your session folder
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1. Open your Motive session from your session folder.
2. Set your session into Grid mode and set the Grid to 1 Bar at the top of the Edit window. It will be simple to make specific selections of bars in the
session this way.
**Before going any further, open any plugin in the session and set the plugin preference to save new settings to your
Session Folder as you did in your last lab. This way you’ll be ready to save settings as you go.**
MIDI changes
Let’s correct some notes. You’ll start with a neat little MIDI view trick that’s kind of a hidden gem.
Zoom Toggle
1. Go to Setup>Preferences>Editing and find the bottom right section labelled Zoom Toggle.
2. Set Track Height to Jumbo and Track View to waveform/notes. This means when you are clicked on a MIDI track and you enter Zoom Toggle,
the track will also automatically switch to Notes view. Very cool!
3. Find the clip on the Bass Cello track beginning at bar 30 and select bar 30-31.
4. Verify that Command Focus is enabled in your Edit window. (Zoom Toggle will be the E key)
5. Press the E key for Zoom Toggle. The MIDI track has changed to jumbo track height and you can see the first two notes. The first note is C1 and
sounds out of place slightly in the song. It might have worked, but the composer has a different idea.
6. Use the Time Grabber to move this first note down to F0.
7. Play the track back to hear the change. The bass cello doesn’t stand out much - that’s the point. In this part of the song it serves better as a plain
bass line and serves simply as the floor of the track.
MIDI Editor
1. Play the track from bar 52 to 58 and listen closely to the arrangement in these first few bars of the chorus. What do you hear? It seems that there
may be a few squirrely notes in one of the horn tracks. Can you hear it? Listen again. Both notes are near bar 56 and 57. Let’s fix them.
This is a great place for the MIDI Editor, because the MIDI Editor allows you to view many MIDI tracks in the same window,
rather than a separate window for each track. The MIDI Editor has its own Tracks List and its own smart tool arrangement. It is
ideal for working with a sizeable composition and seeing each part together so bad notes can be located.
2. Go to Setup>Preferences>MIDI and set the Double-Clicking a MIDI Clip Opens to MIDI Editor. Click OK.
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3. Double-click the clip on the Trom1 track. The MIDI Editor will open. Maximize the window to full screen to see things clearly. At the left of the
screen is a Tracks List just like the Edit window. Use the grabber to click on a single note. You should hear the pitch of the note as you click on
one. Also, in the tracks list is a pencil icon to show you which track the note is on.
4. If all MIDI in the session is not shown, click the dot next to all the MIDI tracks from Cello Low to FL1 to show them all together.
5. Begin playback of the section from bar 54 again. Can you find the out of place note? Usually incorrect notes are easy to spot visually because they
will be only a half step/single note apart in many cases. The problem is at 55|4 and 56|3.
6. Click on the note at pitch D3 at 55|4. The tracks list will tell you this is the FH1 track. Click on the D3 pitch at 56|3. This is also the FH1 track. The
French Horn was apparently written for a slightly different key and these notes will not work.
3. Hide all tracks except the FH1 track.

4. Select the D3 note at 55|4 again and open the Transpose event operation window.
The reason we need to use the Transpose window for this instead of dragging it is because we risk the chance of moving the note
out of time especially with an active grid. The Transpose event window allows you to maintain time relationships since notes are
only changing pitch.
9. Transpose From D3 to Bb2.
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Basically, the MIDI Editor has made it a much simpler process to find these wayward notes. If this had been done through a track
soloing process, we would have eventually found the right track, then had to change the track view to notes to make the fix. This
solved our problem and allowed up to do both things at once. Now that the MIDI has been checked, you’ll make the final
preparations for the score music to go to the instrumentalists.
10. Select the D3 note at 56|3 and Transpose From D3 to C3.
Score Editor
The Score Editor shows notation view for all MIDI tracks in the session. It also has a tracks lists to show individual tracks or all of them together.
1. Open the Score Editor from the Window menu.
2. Show only the cello tracks in the Tracks list. (5 tracks)
3. Double-click the “Title” of the score. This will open the score info for the Motive session. This title will change as you select different tracks to
export in score sheet music.
4. Change the name from Title to Motive Cellos.
5. Enter the name of the composer to be Anonymous.
6. Change the Page Layout from Portrait to Landscape. This will save 3 pages of paper and make things fuller rather than open white space on each
page. Now you will save this music to a PDF.
7. Go to File>Print Score. In the Print window -

✓ You don’t need a printer, just click on PDF and Save As PDF…
✓ - Navigate to your project folder and create a new folder named Scores.
✓ - Set the name to Motive Cellos.
✓ - Set the Author (PDF author, not score author) as your own name. (Authors including middle names tend to sound more bad-ass)
✓ - Click Save.
8. Change the Tracks list to show the three violin tracks.
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9. Change the score name to Motive Violins and save this into your Scores folder as well.
10.Repeat this process for each of the Trom1(Trombones), FH1(French Horns, and Fl1(Flutes) tracks. Each of these will need to be a separate score
sheet.
The composer and producer will now take these scores to the recording stage and return with the recordings when they are ready.
The Score Editor in Pro Tools is actually very basic. You can change notes and make general changes, but it is still a ways from
being a full functioning scoring program with the ability to build a score from scratch with all the details that might require. In
this instance though, it’s perfect and the recording of the acoustic instruments has been completed.
Adding the Life of the Orchestra

1. Select all MIDI and XPand! auxes (do not include the Orchestra SUB aux and Master).
2. Right-click on an aux track and choose Hide and Make Inactive for all the tracks for the orchestra. (Aux tracks can be made inactive, MIDI tracks
can’t be made inactive because there is actually nothing “active” about them to begin with. They are only hidden and will not work as long as the
auxes are inactive.)
3. Using Import Session Data, open AAW Materials>Lab 4>Orchestra Recording and import all of the audio tracks.
4. Assign these new tracks to output to the Orchestra SUB bus.
5. Create a track group for the Cello Low through Str Basses tracks named Strings with Volume, Mute, Solo, Insert A Controls and Bypass(Setting
2). Use ID t.
6. Create and assign a VCA to the new Strings group named Strings VCA.
7. Create a second track group (same settings as the strings) for the FH1 through FL2 tracks named HornsWinds. Use ID w.
8. Create and assign a VCA to the HornsWinds track group.
9. Assign a DSP 7 Band EQ to insert A for each of the Strings audio tracks (you can do this to all of them by selecting the audio tracks using
Shift+Option+Click on the insert). Using the Preset menu in one of these plugins, Import the Lab 4 Strings preset from the Lab 4>Plugin
Settings>EQ3.0. This preset may also be available in the preset list already.
10. Assign a DSP 7 Band EQ to insert A for each of the Winds audio tracks. Import the Lab 4 Horns preset from the Lab 4>Plugin Settings>EQ3.0 folder
to one of these plugins.
Once again, this is an exercise in subtractive EQ and cleaning up tracks. Insert A is linked for these tracks, so an adjustment only
needs to be made to a single plugin as long as the group is enabled. These tracks have much low-mid range frequencies. Filtering
some of that out, cleans up these tracks. Play around with these presets some and then decide if you will move any EQs to insert
B to stand alone unlinked.
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MIDI EVENT LIST
In this section, you’ll apply an arpeggiator to the session using the xpand!2 software synth.
1. Create a mono instrument track under the Indigo 3 track in the Break Synths group and name it Break Bass Synth.
2. Route the output of this to the Break Synths SUB subgroup.
3. Place the cursor at bar 62 of this track and open the MIDI Event List from the Window menu.
4. In the MIDI Event List use Command+N or choose Insert>Note from the drop-down menu. Enter the numbers in the fields as shown below.
4. When this has been completed, locate your Break Bass Synth track and go to measure 62.
5. Insert Instrument>xpand2 on the this track and show the Instrument column for the track to view its MIDI I/O. You should see a clip like the
image below.
6. Import plug-in preset from AAW Lab Materials>Lab 4>Plugin Settings>xpand!2>vega synth.
7. Press play to hear the note. You will notice the xpand2 synth is automatically arpeggiating in time with the session tempo. This is the case with
most native based instrument plugins in DAWs.
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Ear candy
To make this synth sound a little more interesting we want to use other plug-ins to manipulate the sound.
1. Make sure that inserts A-E are being shown in the Mix window.
2. On Insert B add the EQ3 7-band. Then import the plug-in preset Break Eq from AAW Lab Materials>Lab 4>Break FX>EQ3.0.
3. On Insert C add the Pro Compressor plugin. Then assign the plug-in preset Other>Extremely Fast. You may need to adjust the Makeup Gain if the
output is too high.
4. Feel free to experiment with the plug-in settings as well as adding additional plug-ins such as Eleven MKII, AIR Filter Gate or Lo-Fi to create your
sound.
MIDI Learn and Automation Lanes

1. Select the Break Bass Synth track and set it into Clips track view if it is not already.
2. Create a mono instrument track just below it named Vacuum and assign the track output to the Break Synths Sub bus.
3. Option-drag the clip on the Break Bass Synth track to pull a copy of the clip down to the Vacuum track into the same position beginning at bar 62.
4. At the top of the Edit window, set the Nudge value to Bars:Beats and 1/4 notes. Press the + button on the numeric keypad once to nudge the clip
over to 62|2|000.
5. Press Option+P to open the Change Duration window and enter 15|000 in the Set All To field. Apply.
6. Press Option+T to change the MIDI Operations window to Transpose and Transpose By 2 Octaves.
Apply. You will likely not notice a difference on the track visually because clip view automatically crops
single notes into the middle of the track regardless of their pitch, but it will be higher.
7. Insert Instrument>Vacuum on the Vacuum track.
8. Import the plugin setting AAW MIDI Learn from the Lab 4>Plugin Settings>Vacuum folder. This setting has a growl kind of vibe to it.
Vacuum is a mono voice synth we have set into a 1/4 note arpeggiator sound. You could choose to adjust any one of several parameters, but we’ve
highlighted the ones we’ll have you map in the exercise below.
Automation Lanes
This section normally involved a MIDI controller in the lab room. Rather than using MIDI assigning for the parameters, you can just use normal code
automation. Understand if you right-click on most instrument parameters, you will see the option to “MIDI Learn”.
1. One by one, hold Control+Option+Command and click on each of these Vacuum parameters to enable them for automation.
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✓ Encoder 1 - SHAPE
✓ Encoder 2 - CUTOFF
✓ Encoder 3 - RESO
✓ Encoder 4 - DRIVE
✓ Encoder 5 - MOD DEPTH 1
✓ Encoder 6 - MOD DEPTH 2
2. Practice playback in Pro Tools experimenting with these 6 parameters. Create a game plan for what movements you’d like to record. You don’t
need to use every parameter if you choose not to. Each of these 6 will contribute something noticeable without creating to much chaos with the
sound. In some cases, 2 parameters will make a huge difference.
3. When you’re ready, make a few playback passes in Touch or Latch, recording your parameter changes.
4. Once you have performed your automation passes, click on the automation lane arrow button at the bottom left of the track header as shown
below. Set the track view for this new “lane” to Vacuum> any orange parameter. Click on the + button of the new lane to pop out the rest of the
lanes with your automation. Now you may edit any part you’d like graphically and be as precise as necessary.
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5. Select the Break Bass Synth and Vacuum tracks.

6. Right-click on one of their track names and choose Commit. In the Commit dialog box, use the setting shown at the right.
Keep in mind that your automation for these tracks is MIDI automation, while this window is referring to track volume,
mute, and pan automation, so those can remain unchecked. Press OK. You’ll now notice two new tracks beneath the
originals, with the originals inactive. Commit is essentially a shortcut for an offline Bounce to Disk.
7. Hide the two original tracks.
Impulse Responses for Orchestra Tracks

1. Assign a send on the Orchestra SUB aux to a new stereo aux track named Orchestra FX.
3. For the Edit section at the right, choose once again to Import Other IR Folder and choose AAW Lab Materials>XFull Sail IR Library.
4. In the settings menu for the plugin, choose Import Setting… and find AAW Lab Materials>Lab 4>IRs>Orch Amb.
5. Adjust the send fader. How much is too much?
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EQs
Spend the rest of the time mixing the orchestral tracks. Solo the string and horn tracks and work on just the mix of the orchestra. Apply these steps -
1. Confirm there is an EQ3 7-Band plugin on every track except for the kick, in order to remove low frequencies.
2. Apply an EQ to the subgroup in order to filter out some of 2-3k as those frequencies may be building up too much.
End of Lab Summary

1. Zoom Toggle is the most useful feature to edit individual MIDI tracks.
2. The MIDI Editor is the most useful feature to utilize for multiple MIDI/Instruments in a single view.
3. Automation Lanes make it possible to view all of the current automation for a track while still in Clip view.
4. Only MIDI instruments and tracks can receive MIDI messages. MIDI cannot be used to control other plugins.
5. The MIDI Event List is another means to review or enter MIDI data.
6. The Subgroups track group and Final Mix track group go a bit further in using Control+click on groups to show certain tracks. The subgroups track
group should remain off until you want to make changes to the overall song level with your subgroup faders linked. The Active Tracks and Final
Mix track groups should always remain off.
The “Why?”
1. Ultimately, many people are looking for ways of making MIDI feel more real and alive. The MIDI Operations window provides some very specific
adjustments you can make to MIDI performances. The MIDI Editor makes it much easier to review a composition between many tracks and
determine better melody lines or harmonies in your instruments by reviewing the scale and key of a song. Automation lanes make it much easier to
edit parameters for movement and activity in all plugins, including instruments and effects.
2. If the Active Tracks and Final Mix track groups are enabled at any time, any selection you make will span across all tracks in the session.
3. The Commit function saves tons of time in printing tracks to audio or printing audio tracks with effects to new audio tracks.
Keys
1. Use E for Zoom Toggle.
2. Use Option+0 for the MIDI Operations window (Quantize, Velocity, Duration, etc.)
3. Use Control+= for the MIDI Editor
4. Hold the Shift key while clicked on a MIDI note to move it up or down the scale and maintain it’s position in time.
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Lab 6 - Time Based Audio
This lab is dedicated to correcting the timing of audio elements in a song. For instance, you have experimented with Elastic Audio,
but not in the way it should be handled with a group of audio tracks to maintain synchronous phase accuracy across those tracks.
This is necessary in a scenario where a drum kit is used. Once drum kit timing has been adjusted, you’ll experiment with some
transient replacement and tempo mapping.
Objectives
• Add Impulse Response Homework
• Edit the acoustic drum kit tracks to make room for the underlying electronic programmed drums
• Appropriately apply Elastic Audio timing correction to the acoustic drum kit tracks by section
• Replace snare and kick transients utilizing the the Slate Trigger 2 plug-in
• Offline bounce the music and backup your session folder
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Elastic Audio for Groups
Elastic Audio is a great tool for audio transient manipulation and timing. However, there is a fundamental difference in the way it is approached for
several tracks which must retain a phase relationship with each other as is the case with a drum kit. In this case, the tracks must be grouped.
Even though Elastic Audio is track specific, it recognizes the existence of an enabled group for the selected tracks. It usually chooses the track
with the earliest transient near the note value to be quantized. Then, this first transient will be snapped to the grid while others only move
proportionally enough to stay in their position of correct phase with the first transient. The result is a single transient perfectly at the grid in each
location, but the overall tighter timing of the kit is much cleaner with the regard to the big picture.
With regard to time-correcting drum kits, Elastic Audio should be done in sections. Different selections of the drums will require different
note values for quantizing. To prevent quantizing too many drum transients at once, you must make separations to isolate the section you want to fix
(Elastic Audio will apply to selections and whole clips are the easiest to select). Drum kits are tricky, because each mic carries bleed from other
drums in the kit and there are many small transients which Pro Tools will choose to identify with analysis markers. To minimize confusion, you could
reduce the sensitivity of the analysis for each clip (Clip menu>Elastic Properties), or remove/add analysis markers manually. Either way, with regard
to cymbal rolls, these need to be preserved without any elastic audio quantizing.
This Elastic Audio exercise will be an excellent practice of using the Event Edit area to make your selections. Using this method will prevent
you from wasting a lot of time scrolling. Pay very close attention to where your separations are made. For example, some separations are made at a
specific bar when the transient is behind the beat. Others must be made at the transient when the transient is ahead of the beat. Follow the directions
perfectly to get ideal results. At the end, your acoustic kit will match the tight feel of the electronic programming in the session and make everything
sound more professional.
1. Ensure the Acoustic Drums track group is active, then choose a drum track and create a duplicate playlist. This will apply to all tracks in an edit
group. You are about to make significant edits to your drums, so a backup playlist with no editing is a good idea.
2. Control-click on the Acoustic Drums group in the groups list to show only those tracks in the session. This will make it much easier to keep your
place while making the following edits.
Prep Work
1. Zoom in to bar 29|1|000. You’ll notice this first kick transient is actually in an ideal position with regard to the beat.
2. Enable Command Focus by clicking the A/Z button at the top right of the Edit window.
3. Place your curser at bar 29 and press A. This is Trim to Start and will remove everything before this point in your drum kit.
4. Go to Window>Task Manager to open the Task Manager. This will allow you to see how long the analysis will take for Elastic Audio in the next
step.
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5. Enable Elastic Audio for the drum tracks by going to one track and choosing the Rhythmic plugin. Since the tracks are
grouped, all will show Rhythmic and go through the analysis process. For a few moments, your clips will appear gray while
elastic audio is analyzing the tracks. The Task Manager will let you know when this is completed. Up to this point, nothing
has changed until you actually begin quantizing.
1st Chorus
1. Set the session grid to 16th notes. This will help you make informed decisions about the proper quantize settings for the drums for each section.
Remember, you’re going to make separations to the clips to make quantizing easier. You will make edits on the grid when the
transient starts after the grid line. If the transient starts before any given grid line, you must click before it and use Tab to
Transient to make an edit at the transient rather than at the grid. Use the Command key to click within the grid at any location.
2. Change the track view to Analysis to see the analysis markers. The main thing to notice about markers when working with all kinds of material is
to try to minimize markers in the middle of a transient decay because these may be pulled in opposing directions and add bizarre audible artifacts,
making things sound unnatural. If you look at the OH tracks for example, there are markers everywhere.
3. Triple-click with the selector in a clip in Analysis view to select the entire set of clips.
4. Go to Clip>Elastic Properties. This will display the elastic settings for all the drum clips.
5. Set the Event Sensitivity to 80%. This will greatly reduce the number of markers by limiting them to only the loudest transients, but this is a little
low for a few of the tracks.
6. Disable the Acoustic group for a moment.
7. Select only the HiHat clip and set the Event Sensitivity to 95%. Select only the OHL and OHR tracks and set the Event Sensitivity to 88%. Now the
markers are located more accurately to the transients that matter.
8. Make the Acoustic group active again. (If this is not on, all of your elastic audio processing will be wrong.)
9. Change the track view back to Waveform.
10.For the first chorus, everything will seem to match up to 16th notes pretty well, with one exception - move your curser to bar 37 and press play.
There is a kick transient in bar 37 that is a 32nd note. Quantizing the whole chorus to 16th notes would be disastrous for this bar.
11.Separate the drum clips at the first kick transient of bar 37. This means you will need to zoom in some and use Tab to Transient. Do not use the
grid for this edit.
12.Select the chorus clips before bar 37 and open the quantize window from Event>Event Operations>Quantize.
13.Choose 16th note and press Apply. Some of the changes may be very slight, but overall, everything right up to bar 37 will sound much tighter.
Zoom in to see the effects of your quantize if it does not appear to be noticeable.
14. Separate the clips at bar 40 and quantize 37-40 to 32nd notes.
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Take a look at bar 37 now. The kick transients have moved ahead to their correct location. The side effect of this is that there is a
small gap in the clips before bar 37. When soloed, this subtle glitch can be heard, but not with the rest of the instruments in the
track. Nonetheless, you’re a professional and need to cover your edit. We’ll use this as an opportunity to show a nifty way to use
Beat Detective.
15.Use the Selector tool to make a selection across the gap and go to Event>Beat Detective. (Selection length doesn’t matter as long as the gap is
covered.)
16.In Beat Detective click on the last page called Edit Smoothing. Choose Fill and Crossfade with a Crossfade Length of 3ms. Click Smooth. Pretty
cool huh? This function in Beat Detective trimmed out the beginning of the clip at bar 37 and placed a crossfade to cover the edit all with one
click. Zoom in to see the result fully. Awesome!
The Rest of the Song

1. Place your curser at bar 45 and press A once again to remove the extra dead space in the clip. This would be a good time to zoom out a little and
make sure you made a separation at bar 40 or the end of your first chorus will be gone. This part of the second verse begins with a drum fill into
the downbeat. The note value for quantizing will need to change for this section.
2. Make a separation at bar 46 (zoom in and make sure you do not make an edit in the transient if the transient is early).
3. Change the grid to 32nd notes. Notice how a few of the snares in the snare roll in bar 45 are still off the grid. Change the grid once more to 32nd
note and Triplets. This looks right.
4. In the Quantize window choose 32nd note and Triplet from the drop down menu and quantize the clips. (You could check the Tuplet box instead
of choosing Triplet from the menu since a triplet is a form of tuplet. Checking the Tuplet box by default displays “3 in time of 2” which is a triplet
timing. In this case is it three 32nd notes in the time normally taken by two, making the timing a bit finer. Whatever you choose, don’t use the
Tuplet box and Triplet together. This would be an extremely fine timing.)
5. Reset the grid to 16th notes (remove the Triplet as well). Make a separation at bar 57 (use Tab to Transient). This section from 46 to 57 is pretty
straightforward with 16th notes, but there may be an analysis marker which will skew one of the transients.
6. Quantize these clips to 16th notes only (no Triplets).
7. Make a separation at bar 58. Quantize this single bar 57|1|000 to 58|1|000 to 32nd notes. This is a better setting due to the double snare hits in this
bar. Rather than move several analysis markers, making the resolution finer gets the proper result because audibly, the second of the double hit is
the proper one in this case.
8. Make a separation at bar 64 and quantize bars 58 - 64 to 16th notes.
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9. Make a separation at bar 77. Do not delete bars 64 - 77 or use the A key. There is a cymbal roll in this break section. You will not apply elastic
audio to this section.
10.Make a separation at bar 81 (make sure the transient is not edited). Quantize 77 - 81 to 16th notes.
11.Make a separation at 82. Quantize the bar 81|1|000 to 82|1|000 to 32nd notes.
12.Make a separation at 87|2|000. Quantize 82 - 87|2|000 to 16th notes.
The Outro
This section from 87|2|000 to the end is for you to do on your own. Use the grid with waveform view to determine the best quantize settings and
tighten up the end section for a thorough work of art. It cannot be done in one selection. It will take multiple quantize settings and edits.
1. When you’re finished, use Beat Detective Smoothing to fix every edit you’ve made to the drum clips like you did the first time. Even if you don’t
see gaps at each edit, a crossfade will be necessary.
Let the lab specialist hear what you’ve done before moving forward. If the timing isn’t right, the next part will only make it worse.
Drum Replacement
Once the drums have been properly time-corrected, you can perform the process of replacing certain drum hits with better sounding samples. This is
ordinarily done for the kick or snare drum. In this case, you’ll replace the kick AND the snare.
Normally, on the lab station, we’re using a plugin named Trigger. Follow the instructions in the lab video provided for this assignment to use the
Massey DRT plugin to practice some drum replacement.
Commit your drum replacements

1. Spend some time now dialing in exactly what you want for the kick and SNR replacement plugins. Make sure your output level for each track is a
decent level, with peaks between -15 and -6 for an example.
2. Select the instrument tracks with your replacement kicks and snares, right-click on one of the track names, and choose Commit. You’re now using
Hide and Make Inactive for the Source Tracks option.
3. Press OK.
4. You’ll want to Modify your Acoustic Drums group to remove the original two tracks.
5. Un-suspend (Enable) all groups. (Shift+Command+G)
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6. Mix away. At this point there is no excuse for your drums not to have every opportunity to sound decent. This will greatly affect your position in
the running for extra credit points at the end of the month. You’re likely to need some changes to your parallel processing for the drum subgroup,
now that your overall sound is different. At the very least, your acoustic drums should now be much more present and useful than before.
In this lab you have corrected the timing of the acoustic kit to match the programming of the song much more accurately. You then made some basic
edits to create a working relationship in the song between the programmed drums and acoustic drums. Next, you brought out more intensity from the
acoustic drum kit by applying stronger snare and kick samples to the track overall. Trigger is a powerful option for working with live drum kits in a
production.
Impulse Responses
1. Consider a reverb on your snare or the drum kit as a whole. Consider how a guitar, electronic drum track, or vocal could benefit from one of them.
Also don’t forget about the possibility of using send or plugin automation with these. The Space plugin also has Wet/Dry controls for inserting
directly on tracks, or try a few other uses you explored in your previous homework assignment from using the Melda plugin.
EQs
Spend the rest of the time re-mixing the drum kit. Solo the drum tracks and work on just the mix of the drums. Apply these steps -
1. Assign the EQ3 7-Band plugin to the new Kick and Snare tracks. Remove low frequencies and rebalance your drums
End of Lab Summary

1. Elastic Audio, when applied to a drum kit, must be done with the tracks grouped and the group enabled.
2. Elastic Audio will only be applied to selected clips, so it is helpful to separate sections of a song into clips to be quantized. In this way, warp
markers will not be swayed and affect the timing of the rest of the song.
3. The Edit Smoothing feature of Beat Detective can be applied to any audio editing resulting with gaps that need to be filled and faded.
4. Drum replacement is a plugin tool we can use to take kits to the next level. Sometimes it’s not about a bad recording. Even in an album of songs, a
band might want a different kit for different songs… or do they just need replacing…? Hmmmm…
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The “Why?”
1. In pop songs where the rhythm is more consistent, it makes more sense to correct inconsistencies in the drums, so in this example we applied
elastic audio to the drums. Beat Detective would be used if we wanted to keep the drum performance and change the session tempo to match the
drummer.
2. There are different ways to use drum replacement - Stack up a big snare sound, do a simple snare replacement, merge the original snare with a
replacement, etc. In this lab, you probably replaced the snare outright, but each session might create different goals for the drums.
Keys
1. Use Option+5 for the Elastic Properties window.
2. Use Shift+Command+G to suspend all groups.
3. Use B for separate.
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Lab 7 - Programming
In this lab, you’ll take some of the producer’s final ideas and embellish them a bit. The song is now sounding full and more epic by
the moment. This time is designed to fill in some holes in the song and create the best flow going through the second half of the
song. This will ensure that the song builds properly and keeps the interest of the listener.
In this lab you will create elaborate keyed compression, add some clever automation movements, and make good use of the
pencil tool.
Objectives
• Utilize keyed compression for a stacked layer of synths through a subgroup
• Use Special and Snapshot automation functions to add clever automation to several AIR plug-ins
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Adding Sound to the Break
1. On the acoustic drum kit audio tracks, select 62|1|000 to 66|1|000, separate and mute them using Edit>Mute Clips.
2. Navigate in your session to the Break Synths tracks. This is a layer of multiple software synths like FM8, SonikSynth, Indigo, and Hybrid. Each
sound has a distinction. The fun part is deciding how to mix these 10 tracks. Which ones do you think should be the loudest? Which ones do you
not like?
3. Locate the Hyb Syn through SS4 tracks. Pick two of them to keep and Hide And Make Inactive the other 4. You may need to solo a few at a time to
make this decision.
4. Locate the Indi1 through Indi4 tracks. Pick two to keep and Hide And Make Inactive the other two.
Side-chaining
1. Create a click track above the Break Synths SUB aux by going to Track>Create Click Track.
2. To activate the click during playback, make sure the metronome button is active. Double-click the metronome to set the click
to During play and record.
3. Record the output of the click track to a new mono audio track from 61|3|000 to 70|1|000. Name this track Break Click, then Hide and Make
Inactive the Click track.
4. On the Break Synths SUB aux track, insert Multi-channel>Dynamics>Compressor/Limiter Dyn 3.
5. Import the Keyed Compression plug-in preset from the AAW Materials>Lab 7 folder.
6. Create a new mono bus in the IO Setup Bus tab. Name the bus Key Bus. Set the output of the Break Click track to this bus.
7. In the compressor plugin window, set the Key Input at the top left to the Key Bus.
8. Solo-safe the Break Click track.
9. Press play from bar 59 to hear the keyed compressor affect the synth tracks. To recap, the Break Click track is triggering the compressor to act and
the plug-in preset is specifically set to a release time which works well with this session’s tempo. At this point, anything traveling through this
Break Synths aux will have this same rhythmic compression on it.
Special and Snapshot Automation

Special Automation
1. Select the Out Pad track in the session. This is part of your Outro tracks.
2. Using Import Session Data, go to AAW Lab Materials>Lab 7>Outro and import the Out Pulse track.
3. Insert Multi-channel>Instrument>Xpand on the Out Pulse instrument track. Assign 09 Multitrack Arpeggios>+37 Chasing Mallets for the
preset.
4. Listen to the Out Pad track for a moment. It is a very simple tone and not very interesting.
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5. Insert the Multi-channel>Modulation>AIR Filter Gate plug-in on the Out Pad track.
✓ The default settings for this plug-in should be Pattern: Straight Rate: 16th note Mix: 100%.
6. Set the Pattern to LL/RR Pan and enable the Mix knob for automation.
7. Change the Out Pad track view to AIR Filter Gate>Mix and set the session grid to 8th notes.
8. Choose the Pencil Random tool. Before the waveform starts, click and hold in the middle of the track, then drag up and across for the duration of
the audio file. Since it is the random tool, you will notice it change slightly with every move you make. You have just automated the Mix to come
in and out (but never all the way out/down). This makes the pad much more interesting. Leaving the panning hard left/right might be nauseating
after a few seconds, but this tones it down nicely. Remain in this track view.
9. Assign the Output Pad2 track to the subgroup aux to be heard as well.
10.Insert the Multi-channel>Modulation>AIR Talkbox plug-in. Enable Vowel for automation. Set Formant: -3.00 and Mix: 30%.
11.Change the Out Pad2 track view to AIR Talkbox>Vowel.
12.Select the entire clip of automation on the Out Pad track and copy it.
13.Select the entire clip on the Out Pad2 track and go to Edit>Paste Special>To Current Automation Type. This allows you to put the same
automation into a different parameter. Press play to check it out. With the Mix at a lower setting, you don’t notice the vowels as much, but you still
hear the changes and it makes this pad more interesting as well.
14.Two things you should try 1) Set your nudge value to 8th notes and moving the automation around on the grid
2) Use the trim tool to minimize the extreme highs and lows in the automation to tighten it up.
Snapshot Automation
1. Assign the output of the Out Bass track to the subgroup.
2. Insert the Multi-channel>Delay>AIR Multi-Delay plugin and enable all parameters for automation.
3. Change the grid to half notes and select 86|1|000 to 86|3|000.
4. Set the AIR Multi-Delay preset to 23 Saw Delay, set Mix to 50%, then go to Edit>Automation>Write to All Enabled.
5. Select 86|3|000 to 87|1|000, change the preset to 08 Delay Groove, and Write To All Enabled.
6. Select 87|1|000 to 87|3|000, change the preset to 21 Dotted Eights, set Mix to 50% and Write To All Enabled.
7. Select 87|3|000 to 88|1|000, change the preset to 13 Swelling Delay, set Mix to 50% and Write To All Enabled.
8. Press play from 86|1|000 to see your plug-in change every 2 beats.
9. Change the track view for the Out Bass track to one of your AIR Multi-Delay parameter views.
10.Go to the Options menu and make sure Automation Follows Edit is checked.
11.Select the 2 bars from 86 to 88. Go to Edit>Copy Special>All Automation.
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12.Place your cursor at 88 and use Paste. Continue to paste every 2 bars at 90, 92, 94, 96, 98, 100, and 102. Now these delay presets will change up
constantly through the track!
13.Return the Out Bass track view to Waveform view for the following editing exercise.
The Ultimate Vacuum

1. Make Grid mode active if it isn’t already.
2. Create a new stereo instrument track below the Orchestra Subgroup/Orchestra FX tracks. Name it Vacuum FX 1.
3. Insert a Multichannel>Instrument>Vacuum plugin on this track.
4. In the Vacuum plugin, assign the preset 3 Arpeggios>06 Come + Go Metal.
5. With the Smart Tool active, make a selection of bar 77 on this track for the full bar, stopping at bar 78.
6. Press E for zoom toggle. Now you should be in the notes view for the instrument track.
7. Hold the Control key to gain access to the Pencil tool and pencil in a note at F2 for the full bar. Use the trim tool portion of the tool to re-adjust the
ends to the grid as necessary.
8. Press E once more to leave Zoom Toggle once you’re finished.
9. Place your cursor at bar 77. Go to Edit>Automation>Write to All Enabled.
10.Place your cursor at bar 78. Change the Vacuum preset to 3 Arpeggios>09 Dirt Train. Go to Edit>Automation>Glide to All Enabled.
14.After the Vacuum plugin, insert Multichannel>Modulation>AIR Filter Gate. Assign the 07 Panned Filter preset.
15.After the AIR Filter Gate, insert Multichannel>Dynamics>BF-76. Set the plugin to the following settings:
Input: 12 Output: 18 Attack and Release: 7 Ratio: 12
Play through the bar a few times. By using Glide to All Enabled, you’ve created a morphing change to many of the plugin
parameters all at once. This isn’t only for effects plugins, but especially cool for synthesizers as well. For instance, this won’t
work well for Xpand, which is a sample-based synth. You can’t automate sample switching through presets. This is a pretty neat
outcome, but, you’re not quite finished yet…
16.Assign the output of the Vacuum FX 1 track to a new stereo aux subgroup track named Vacuum FX SUB. Solo-safe the track and assign the output of
the subgroup to the MIX bus.
Now you have a cool morphing effect with the rhythmic panning of the AIR Filter Gate and the leveling of the BF-76! In this
exercise you’re encouraged not to settle for a few steps, but to press into a few more processes to see what else you may turn
things into.
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17.Next, repeat this same process two more times using two new Vacuum instruments in other parts of the timeline of the session. Name the tracks
Vacuum FX 2, 3. The goal is just to experiment with different Vacuum presets to see what combinations work utilizing Write to All Enabled and
Glide to All Enabled. You may use undo quite a bit to try different presets, so it’s a good idea to refer to the Undo History.
18.Open Window>Undo History to keep a sharp eye on your progress and undo particular automation steps in this process when you want to.
Finish the Bass

1. Set your session grid to quarter notes.
2. Be sure that Options>Automation Follows Edit is unchecked.
3. Select 86|2|000 to 86|3|000 of the Out BASS track and press delete. From here on, delete every other quarter note through the rest of the clip. The
result of this is a piece of audio triggering a delay, then in the empty area you hear the delay decay only. It adds emphasis and texture to the
downbeats. Since Automation Follows Edit was unchecked, you were able to make these edits without disturbing the automation in the
background.
4. Triple-click to select all clips in this track and create a batch fade (⌘F) of 20MS to minimize clicks and pops (most of the clicks and pops are
actually from the parameters in the delay switching between presets).
HEAT
HEAT stands for Harmonically Enhanced Algorithm Technology. It is a harmonic presence applied to each audio track in the session in order to
emulate analog console sonic behavior. HEAT is extremely easy to setup, although you can apply quite a bit of tweaking to utilize it in the session in
unique ways.
1. Go to Options>Activate HEAT.
2. In the mix window, right-click on a channel column header and check HEAT for the channel strip display. You’ll notice all of the audio tracks have a
HEAT section with Pre and Byp buttons.
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3. Still in the Mix window, pop out the right pane as if the Clip list were there. This will present you with the two controls for HEAT in the session.
Drive will control how much harmonic content is added in even-ordered or odd-ordered harmonics. Tone control will shift the
sonic character to be more bright or dull. The Pre button on a track will establish the harmonic process before or after plugin
processing. Byp will bypass the effect for that track. Use the Option key to apply Pre or Byp on all tracks. Play around with this
character for a while. Consider a few things - Do you want to apply this to the entire session? Maybe everything except vocals?
Maybe only the drums? If it’s the entire session, your Drive and Tone settings may be more conservative. If it’s applied to only a
particular group, it may be more aggressive. You decide!
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EQs
Spend the rest of the time mixing the break synths and outro instruments. Solo the tracks and work on just the mix of these groups.
1. Assign the EQ3 7-Band plugin on each of these tracks, in order to remove low frequencies.
2. Set the high-pass filters for the break synth tracks to at least 100Hz.
3. Set the high-pass filters for the outro tracks to at least 50Hz.
4. Set an EQ on the Break Synth subgroup to scan for frequencies building up too much.
End of Lab Summary

1. Side-chaining is a neat way to add rhythm to otherwise plain or ordinary sounds.
2. The value of being familiar with Pro Tools features is in your ability to determine ways to use the software in new and original combinations. In
this lab you experimented with combinations of plugin processing, different automation features, and editing in seamless workflows.
The “Why?”
1. In this lab we focused a little more on automation to show there are a number of ways to leverage automation in your productions.
2. Get in the habit of making templates will remove the necessity to repeat all of the necessary steps to organize an efficient mix. Make a few of your
own. What would you do?
Keys
1. Use Shift+S and Shift+M to solo and mute tracks.
2. Use Control+Command+V for Paste to Current Automation Type (Paste Special).
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Lab 8 - Stereo Mix and Bounce
This lab is for you to work on your stereo Motive Master session. It is set aside for you to complete any process with the Motive
project that you would like to do on your own. Use this as an opportunity to practice some production skills, mixing, editing,
automation changes, etc. Along the way, you’ll incorporate the finished elements of your Programming Homework Assignment.
Make a mix of this session in your own style. The lab checklist requires two stereo bounces by the end of the lab - done according
to the proper criteria. You must allow time for your bounces at the end of lab before it is time to go.
Objectives
• Mix your Motive Master session
• Submit two mixes. a 24/44.1 multi-mono bounce and a 16/44.1 Interleaved bounce
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Mono vs Stereo Mixing
Step one in beginning a mix is to recognize the necessity of stereo tracks to remain stereo. For instance, when a true stereo signal is recorded from
dual mic placement or from stereo line sources like keyboards or plugins, the left and right channels will be legitimately different from each other.
They will carry the same tones, but with varying harmonics, weights, and phase. A true stereo signal is never the exact same phase in both channels
or “coincident”.
There is a trend in much of today’s music which involves the habit of recording everything in stereo, whether it should be or not - and kept
that way in a mix. Many plugin instruments, for example, use mono samples. When tracked stereo, this will create some frustration during mixing -
especially any time panning is used. Let’s explore this.
1. Locate the Indust Ring track. With the selector, click on bar 4 and zoom in to see the waveforms clearer. This is an example of a legitimately
stereo track with differing content between left and right.
2. Locate the Sub Pad track, choose a bar and zoom in again. This track is clearly a legitimate stereo track, but a decision still needs to be made. It is
a bass track. Listening back, you’ll hear the bass stagger slightly between left and right, but more importantly there will be clear phase
cancellation between the channels at these frequencies if the panners are ever slightly moved closer together. Whether this track remains stereo or
you choose to work with it in mono will be up to you. Bass, being less directional, doesn’t need to be stereo, unless you want to emphasize the
swaying in your mix. Also, sub-bass sounds benefit from being reduced to mono, as no real character in the bass is present to determine a useful
stereo field.
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3. Locate the first electronic drum track - Boom. Click on bar 11 and zoom in. This track is clearly not a stereo signal. It is identical in phase between
left and right channels. This track was recorded from the Boom plugin which utilizes mono samples. 2 things - you might decide,
✓ “I want this track to be louder, so I’ll leave it stereo.” Don’t. True mixing is knowing when to bring everything else down to the appropriate
place to achieve the same goal when it is correctly mono. Also, the more tracks you have stereo when they shouldn’t be, the more energy you’ll
sacrifice in the stereo mix as a whole for the song and you run out of room for the things that need it.
✓ “If it’s a stereo track, I can pan the left and right separately and weigh this track to one side or the other in the mix.” Here’s the problem with
that idea - any adjustment of a panner from left or right introduces a significant gain change in this track. If both channels ever existed in the
same point, this signal will be 6dB louder without any fader adjustment. When a track is in coincident phase between channels, a pan
adjustment IS ALSO a fader adjustment. When panning significantly Don’t do that either. Reduce it to mono and pan it precisely where you
want it. The best stereo mixes are from mixing mono tracks in a stereo field.
4. Right-click on the Boom track name and choose Split into Mono. Pick a track to keep (they’re both identical, it doesn’t matter which one) and
delete the other mono track and the original stereo Boom track. In this case, deleting is more ideal than making it inactive, because this is a clear
production choice and the original is not necessary.
5. Do this same process for the next 4 tracks - Dist Kick, Rev Kick, Fit hits, and Dry Snr.
6. Look for this any time you print/import stereo tracks or files into your sessions in the future.
An alternative to using the Split into Mono option is to Option-click and link the left and right panners on a stereo track together.
This way, the outputs have already been summed at their maximum of 6dB higher and this effectively removes the opportunity
for pan adjustments to affect track volume. It should go without saying that the Inverse Link button to the right of the link button
should remain off. From this point on, any pan movement will be the same behavior as a mono track. This should be considered a
quick fix, but not the best idea when working in an environment with others as it could cause confusion.
57
Mixing and watching your levels
It is important to leave enough headroom in your mixes. Without headroom, your mixes may end up sounding flat, over compressed and even
distorted. Another issue will be that you are not leaving room for a mastering engineer to work. Good practice is to watch your levels and mix with a
peaks no more than -6db.
The MasterMeter plug-in is a metering tool for mixing that displays both regular and inter-sample peaks. This plug-in will show a detailed report of
any event that is louder than what ever level the plug-in Clip At: is set to. The plug-in is located in your multi-channel>Other category.
Insert the MasterMeter plug-in onto the main out master fader and set the Clip At: to -6db as shown in the image below. This will now present you a
clip indicator when your peak reaches -6, regardless of output distortion. In this way, you can better prepare your final output for a mastering
engineer, leaving headroom in the mix for mastering processes and having an indicator to tell you where your peaks are above -6 to make some slight
changes before you ship it off.
58
Commit Instruments
In the session you have a number of instrument tracks still active, which need to be committed. You may or may not be ready to commit the
instruments along with the effects on a particular track. Here’s something else you can do…
1. Go to the Vacuum FX 1 track. Right-click on the Vacuum insert and notice the option for Commit Up to This Insert… You may choose to Commit
tracks to audio outright, using the normal commit function by right-clicking on the track name, or you may choose to commit only up to a
particular insert, leaving the rest of the inserts active on the new audio track created.
2. Commit all instrument tracks in the session, using Hide and Make Inactive for the source track function.
Bounces and Metering

1. For one final time, check every single output of your session and confirm all tracks are routed to the proper destinations.
2. Right-Click on the Master Fader for the main output of the session. Choose Linear for the metering style for the track. This will set all Master
Faders in the session to a 2dB equal scale and make monitoring your output mix level more precise. As listed below, your session should play back
with no peaks above -6dB on the output. Your general target should be around -10 to -8. You must create a 24/44.1 multi-mono bounce of your
session. Name the bounce “group #_three initials_Mix” (02_BCS_Mix). Extra credit will be given to the best two mixes in each lab group at the
lab specialist’s discretion, only if these criteria are met. This will be worth 5 points on the Lab Final Practical. The judges’ criteria for your bounce
to qualify are as follows -
✓ No dynamics on the Master Fader
✓ Peak level of no more than -6dB
✓ Good balanced levels throughout the song
✓ Bounce Source is done through the main output
✓ Bounce length must be exactly 6:00 minutes from Bar 1.
3. You must create a 16/44.1 Interleaved bounce of the session to the Bounces folder in your project folder. Name the bounce “group#_three
initials_Master” (02_BCS_Master).
✓ Experiment with these plugins: Multi-channel>Dynamic>Pro Compressor/Pro Limiter
✓ Dither (16 bit) should be added to the Main Master.
✓ Peak level near 0dB.
✓ Bounce length must be exactly 6:00 minutes from Bar 1.
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End of Lab Summary
1. Completing a mix can be very rewarding, but still requires vigilance of final mix levels. No peaks above -6 is a good rule for completing mixes
which will later be mastered separately.
2. No dynamics on the main master fader. If this is a difficult decision for you, stop using main master faders altogether and just use auxes. :-)
The “Why?”
1. A 24 bit mix is 144dB of dynamic range. Mixing at -6 gives you 138dB of dynamic range. The best converters in the world can barely top 130. =
Mixing with a peak of -6 loses you nothing you’ll ever hear in quality, but allows headroom for added dynamic and enhancement processing in the
mastering process.
Keys
1. Use Option+Command+B for Bounce to Disk.
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Lab 9 - Surround
In this lab, you’ll mix Motive in surround. The key to mixing surround is realizing that the mixing techniques you’ve learned to this
point don’t change in this workflow. However, because several more channels are added to the mix, more parameters are used to
control those extra channels. Keep your System Usage window open at all times during this lab.
Mixing surround has it’s advantages. The biggest challenge of a stereo mix is fitting these 150 tracks into a two-channel mix
field. It is a challenge of the use of placement, much subtractive and otherwise often extreme EQing, and the right dynamics.
Surround removes the bounds of a stereo field placement and adds an enormous amount of spread. This means tracks don’t fight
each other for space nearly as much they did in the stereo mix and single tracks are easier to pick out. Because of this, extreme
EQing is less necessary and dynamics are less extreme as there is less of a problem for certain sounds to be heard above others.
In short, while surround is a little more work up front to setup, mixing is actually much easier and more fun.
As a general listening exercise, listen to the clarity of individual instruments in this mix as opposed to the stereo mix you have
been working on. Having 4 more channels to work with allows you to disperse the energy of so many tracks through a larger
output field.
Objectives
• Create detailed I/O setups involving output and bus surround paths with sub-paths
• Mixing with multi-channel subgroups and masters
• Familiarize yourself with the surround output window of a track and practice Center and LFE controls
• Record Stems and Print Masters
• Multi-channel vs Multi-mono surround effects
• Export surround files
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Surround Prep
At this point, you have completed the compiling, editing, and organizing of Motive as a stereo project. You’ve done an amazing amount of work! The
next task will be to prepare this session for the next process of going from a stereo mix to a surround mix. This will certainly change much of the
routing as you know it in your stereo session. You’ll perform a Save As to preserve your stereo session and create a separate one for Surround.
1. Open your Motive session and do a Save As with the name last name_first name_Motive Surround.
The unfortunate effect of changing a mix entirely to surround is the necessity to reset the I/O Setup for 6 channels of routing
instead of two. This will affect your subgroups and potentially your time based routing. In this lab, you will begin by removing all
subgroups and removing your stereo buses. You probably have just a few time based routings in your session for the guitars,
acoustic drums, and lead vocal. You will completely replace these stereo effects with surround effects. Before you delete these
tracks, it will be a good idea to save your plugin presets, should you choose to recreate what you did in stereo.
Surround I/O
1. Verify that all of the tracks in your session are color-coded properly so that each section of tracks can be clearly seen apart from each other.
2. Go through your acoustic drum subgroups auxes and save all of the plugin presets you used for parallel processing to your Session folder. You will
be given the option to use these specific effect settings again.
3. Delete all subgroup auxes, master faders, and effects auxes from the session (Do not delete VCAs). These will include Intro, Electronic Drums,
Acoustic Drum subgroups and effects, Impulse Responses, Instruments, Outro, Strings, Horns, Guitars, Programming (from your homework
files),Lead Voc Verb, Background Vocal, Stereo Mix, and all master faders. Your session should now be just audio tracks and VCAs. You should
also remove the Orchestra MIDI tracks.
4. In your I/O window, delete all buses, except for the bus mapped to your main stereo output and the mono Key bus you created in lab 7. In this lab,
while you’ll be mixing in surround, your main output in Pro Tools will remain stereo and we’ll utilize a plugin for the surround mixing workflow.
5. In the Bus tab, create the following bus paths. In each New Path dialogue box, leave Auto-create sub-paths unchecked.
✓ 5.1 path for Intro Tracks, Electronic Drums (break drum tracks will use the EL Drums bus this time), Acoustic Drums, Instruments (Bass tracks
and Programming homework files will go the Instruments), Break Synths, Outro, Strings, Horns, Guitars, and Vocals.
✓ 5.1 path for Mix.
62
Subgroups
1. Create subgroups for each section of tracks based on the bus you created for each one. For example, a 5.1 channel bus will require a 5.1 channel
Aux track. For the vocals, you will include the Lead Vocal output to the vocals subgroup aux with the background vocals. NOTE: A more efficient
way to select your audio tracks when you’re routing these subgroups again - click in the blank area to the left of a track group. You’ll see a solid
dot appear. A solid dot indicates all of the tracks of that group are selected and this makes it quicker to assign “All the selected tracks” to a bus
using Shift+Option+click.
2. Create a 5.1 aux for the Mix bus.

3. On the 5.1 Mix aux, insert Soundfield>IRCAM Hear. This plugin will create a psychoacoustic surround field for a stereo headphone output and
change the output format of the track to stereo. Assign the output of the Mix aux to the main stereo output now.
4. Set the plugin so that the channels go from 1-6 in Film order as shown below.
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5. Create a Master Fader for each subgroup in the session. Don’t worry about a master fader for the main output as you’re mixing through this
plugin.
6. Assign the output of the Break Click track to the KEY BUS.
7. Assign a Multi-channel>DSP>Dynamics>Compressor/Limiter Dyn 3 on the Break Synth subgroup aux with the key set to the KEY BUS.
8. Re-assign the S6 by returning to the Peripherals window to check the EUCON box.
Adding the Programming Homework Assignment Files

1. Transfer your “…Program Files” homework folder to your lab session folder.
2. Using File>Import>Audio, import the Bar 6 New, Bar 18 New, Bar 45 New, Bar 52 New, and Bar 76 files from your
lastname_firstname_Programming Files folder.
3. Make a single 5.1 subgroup for these 5 tracks, with the aux going out to the Mix bus. Name the subgroup aux Pgm SUB (for programming sub).
Center Percentage
The vocal tracks are assigned to the Vocals subgroup as a 5.1 output. They are not the only other tracks in the session
with a Center channel. Most of the time we’ll prefer the lead vocal to be heard through much of the center channel.
1. Open the output window for the Lead Vocal track, using the fader icon next to the track’s output assignment.
2. Set the Center Percentage for the Lead Vocal, Harm 1/2, Voc bb, and the Ch 1, Ch straight, and Ch low tracks to
allow an even mix of center channel between the lead vocal and these supporting vocals. The Ch 1 track is the
Lead for the chorus, so matching the Lead Vocal and Ch 1 with pan would be a good idea. For example, try setting
Center to 70% for the lead vocal and the Ch 1 track, but setting the others to 40%. You will still be able to pan
across the front of the room, but near the middle, the tracks will stay out wide and leave more room for the lead in
the center.
3. Feel free to mix other tracks into the center, but be mindful of the lead vocals at all times.
64
Bass Control
1. Solo the SynBass track.
2. Set the Center Percentage to 50. This means the track will be evenly spread across the front of the room. Since little is tying up the center channel
to this point, this track will have a space much of its own. It also shouldn’t fight the lead vocal much once it is introduced because its frequencies
are very different.
3. On the same track bring the LFE fader in the middle of the output window up to about -2dB as you play the clip. You should notice the lower end
of the bass is becoming louder. This LFE send on each track should be approached cautiously with music surround mixes, especially in
headphones. You’re not looking for it to become very noticeable as much as just using it to fill in a tiny bit. Remember you’re referencing this in
headphones, so you will not be able to discern much of a difference between what is supposed to be “Center” and what is “LFE”.
4. Reassign the SynBass track back to the Instrument bus.
Vocals w/Surround Effects

1. Create a 5.1 bus named Vocal FX.
2. Create a 5.1 aux beneath the Lead Vocal named Sur FX.
3. Assign a send from the Lead Vocal to the Vocal FX bus and assign the bus as the input for the Sur FX aux. Set the aux output to the Mix subgroup.
4. Set all send Divergence controls to 0 in order to send to all 4 channels equally.
5. On the Sur FX track, insert a Multi-mono DSP>EQ>EQ3 1-Band followed by a Multi-mono DSP>Reverb>Reverb One followed by a Multi-mono
DSP>Delay>Mod Delay III.
6. Set the EQ plugin to a high-pass filter at about 800Hz. This will thin the delayed vocal out some so it won’t compete with the original vocal in the
mix.
7. For the Reverb and Delay plugins, unlink the channels and set a different setting for each channel. The settings you use are up to you.
Mix before printing

Consider how much time you have left and re-familiarizing yourself with the session and mixing in the surround field. You may
notice some sounds become more noticeable as you move them around because separation from other sounds reduces the masking
effect. As you work on your surround placement for tracks, you will need to use the output window for some tracks to gain access to
surround panning parameters. In the Mix and Edit window, it’s the small fader button next to the output assignment button.
Choose a mono track and play with the surround panner to understand the difference in your headphones between the Right/Left
channel and the Right/Left Surround channel. Since you’re using a Surround-Stereo headphone system, hearing this difference will be important for
you to gauge your mix.
65
Stems
Take some time to do some general mixing, color-coding and placement of the tracks in the session. At some point, create a fade out for the song.
Give yourself 45 minutes to finish the following finalizing steps.
1. SAVE!!
2. Be sure the vocal effects tracks are routed to the vocal subgroup aux instead of the Mix bus, so your vocal print includes the effects.
3. Create 9 new 5.1 busses for each of the 5.1 subgroups in the session (Do Not Create Aux tracks) - Ac Drums Print, El Drums Print, Intro Print,
Instruments Print, Break Print, Outro Print, Orchestra Print, Guitars Print, and Vocals Print. Notice we combined the strings and horns into
a single orchestra stem.
4. Once each subgroup aux track has been properly routed out to their print bus. The Vocal and vocal effects auxes should all go to the Vocals Print
bus. The String subgroup and Horns subgroup should be routed to the Orch Print bus for the single stem.
5. Use Bounce to Disk with the offline function to bounce all 9 buses simultaneously as shown below. Use Stem for the File Name.
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6. When prompted make sure you select new track. Since the word Stem is used for the file name, all your bounces begin with the word Stem or
abbreviated Stm.
7. Once the stems are bounced, Hide and Make Inactive all audio and aux tracks which have been printed and are not necessary anymore. You should
have: Stem El Drum Print, Ac Drum Print, Stem Intro Print, Instrument Print, Break Print, Outro Print, Orchestra Print, Guitar Print, and
Vocal Print, Mix Aux. Assign the output of the Stems to the Mix bus (your headphones).
8. Make any final adjustments to your stem levels for the final mix. No output should be clipping.
Bounce Surround Files

You’ll create a film version for a professional codec like Dolby Digital (24/48, Multi-mono, Wav).
1. Go to the File>Bounce to Disk.
2. In the dialog box, Select the Bounce to Disk source as the Mix Bus, then choose Wav, 24bit/48kHz, Multi-mono for your options. For the
Destination Directory, create a new folder in your project folder named Surround Bounce and choose this folder.
3. Bounce. You should have 6 Wav files in your Surround Bounce folder, each with a channel designation.
End of Lab Summary

1. Surround mixing introduces us to more parameters for control in panning, but the architecture of the mix remains the same as far as subgrouping,
VCAs, the use of master faders
The “Why?”
1. A 24 bit mix is 144dB of dynamic range. Mixing at -6 gives you 138dB of dynamic range. The best converters in the world can barely top 130. =
Mixing with a peak of -6 loses you nothing you’ll ever hear in quality, but allows headroom for added dynamic and enhancement processing in the
mastering process.
67

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Advanced Audio Workstations Lab

AAW Lab Book

The MIX Bus

1. Use hold Command to select all subgroup auxes in the session.

Save 3 Group Settings

Group Show/Hide and Subgroups

Suspend All Groups and Group IDs

Group Selection and VCA Assignments

End of Lab Summary

Convert to Clip Gain

Guitar FX Using Graphic Automation

Impulse Responses for Vocals

End of Lab Summary

3. Hide all tracks except the FH1 track.

9. Transpose From D3 to Bb2.

10. Select the D3 note at 56|3 and Transpose From D3 to C3.

7. Go to File>Print Score. In the Print window -

✓ - Set the name to Motive Cellos.

Adding the Life of the Orchestra

MIDI Learn and Automation Lanes

5. Select the Break Bass Synth and Vacuum tracks.

Impulse Responses for Orchestra Tracks

End of Lab Summary

The Rest of the Song

Commit your drum replacements

End of Lab Summary

Special and Snapshot Automation

The Ultimate Vacuum

Finish the Bass

End of Lab Summary

Bounces and Metering

2. Create a 5.1 aux for the Mix bus.

Adding the Programming Homework Assignment Files

Vocals w/Surround Effects

Mix before printing

Bounce Surround Files

End of Lab Summary

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